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Classical - Released November 10, 2016 | Alpha

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica
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Symphonies - Released April 21, 2015 | Alpha

Hi-Res Booklet Distinctions 4F de Télérama - Choc de Classica
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Full Operas - Released November 8, 2010 | Naive

Booklet Distinctions Diapason d'or
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Symphonic Music - Released March 8, 2010 | Sony Classical

Distinctions 4F de Télérama
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Symphonic Music - Released November 10, 2017 | Alpha

Hi-Res Booklet Distinctions Gramophone Editor's Choice
Haydn2032, the ambitious project of recording the complete symphonies of Haydn, has been placed from the start under the artistic direction of Giovanni Antonini, with two ensembles, Il Giardino Armonico, which made the first four volumes, and the Kammerochester Basel, to which this fifth volume and the next two are assigned. Another characteristic of the edition is that each time Haydn is set in perspective with another composer; here it is Joseph Martin Kraus (1756-92): ‘Kraus was the first man of genius that I met. Why did he have to die? It is an irreparable loss for our art. The Symphony in C minor he wrote in Vienna specially for me is a work which will be considered a masterpiece in every century’, said Haydn in 1797. Though he long remained forgotten after his death, Kraus made an active contribution to the movement of poetic renewal called ‘Sturm und Drang’ or ‘Geniezeit’ (time of genius) because such artists as the young Goethe broke free of all tradition to follow their hearts alone. When Haydn called Kraus homme de génie, in French, he probably had this context in mind. The two composers had met in Vienna in 1783. © Alpha Classics
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Classical - Released March 10, 2017 | Alpha

Hi-Res Booklet Distinctions Gramophone Award
The fourth volume of the Haydn2032 project thrusts into the limelight one of the most important stock characters in the theatre of sounds and words, the Kapellmeister, and explores some glamorous and (in)glorious moments in the career of Maestro Haydn. It features three symphonies by the ‘Shakespeare of Music’ – one of which is even associated with an actual play. This bears the title ‘Sinfonia in C. per la commedia intitolata Il distratto’ (the name of the play soon became the symphony’s nickname) and consists of an overture, four entr’actes, and a finale to be played at the end of the performance. Also on this disc is a large-scale buffo scene by his colleague Cimarosa. Il maestro di cappella is a witty and ironic parody, in which a member of the ‘old school’ of musicians tries to improve the ensemble playing of his orchestra. To his chagrin, the players do react, but in extremely undisciplined fashion: they are distracted, make false entries and disagree musically... (Text from Alpha Classics)
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Classical - Released January 31, 2014 | Sony Classical

Booklet
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Classical - Released January 31, 2014 | Sony Classical

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Classical - Released March 14, 2008 | Sony Classical

A longtime leader of Italy's early music movement, Giovanni Antonini conducts the exceptional Kammerorchester Basel in historically informed performances of Ludwig van Beethoven's Symphony No. 3 in E flat major, "Eroica," and the Symphony No. 4 in B flat major, and makes a convincing case for following period practice in these works. Listeners will note that Antonini's tempos are extraordinarily brisk, his textures utterly transparent, his rhythms crisp and precise, and his handling of form cogent and well-balanced, and that this period-instrument ensemble plays with exceptional energy, clarity, and force, which is all one would expect of authentic performances. Furthermore, all repeats are taken, and the interpretations are decidedly Apollonian in temperament, rather than Dionysian, in keeping with the notion that Beethoven was still a Classical composer at the time he composed these symphonies, not a Romantic avant la lettre. Unlike many of his mainstream contemporaries, Antonini doesn't pick and choose between schools of thought, but is completely consistent in his approach and makes his intentions plain, so listeners can be sure that this recording is as close to authentic as scholarship allows, and not some middle-of-the-road compromise aimed at the mass market. Sony's sound is remarkably spacious and ideally suited in resonance and depth to this orchestra's highly varied palette.
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Symphonic Music - Released January 1, 2005 | Oehms Classics